Sigma 40mm F1.4 Art beta sample gallery

Sigma debuted a number of lenses at this year's Photokina, including two Art-series primes. We got our hands on a beta sample of the new 40mm F1.4 Art, which Sigma's CEO Kazuto Yamaki describes as a 'reference' lens for the entire Global Vision range.

Click through to our initial gallery, shot during the Photokina show in Cologne Germany to see how it performs.

Please note that the images in this gallery were shot with a pre-production Sigma 40mm F1.4 Art. Raw files were converted to JPEG via Adobe Camera Raw, at standard DPR settings. Image quality may not be totally representative of final shipping lenses, but is likely to be very close.

35mm film and a full frame digital sensors are 36mm wide and 24mm tall. The length of the diagonal is approx. 43mm, which is considered the true "normal" focal lenght. So, 40mm is closer to a "normal" focal length than a 50mm. I believe Pentax is the only company with a 43mm lens, which I hear is VERY good.

Now that I am thinking more clearly, a 40mm lens is a logical companion to a 24 or 28mm because a 35mm is not enough of a jump to make a significant difference and a 50mm is almost too much. It is also a natural companion to their 20mm... if you go by the rule that each lens in your bag should be double the focal length of the one before it.

BTW I think taking the diagonal of the sensor as "normal" is wrong as you should take what approximates to human vision (which IMHO is 50mm for generally looking around and 85mm for something you're concentrating on...)

Did you guys know that arguments about which lens replicates human vision have been going on for so long that these kinds of debates used to be printed on paper? In magazines? That were mailed to your house every month? And brought by a letter carrier who you had known most of your lifes? In a house you could afford?

Not much difference against 35mm. Should had done 43mm instead because that is the natural sharper zone. I can verify this because 50mm always look a bit too narrow and 35mm is a bit too wide when looking the sharper area.

There is plenty of inferior lenses which are also cheaper, if you seek lighter and smaller. That is why there is M43 systems and phone cameras. Sigma Art, Zeiss Otus, Pentax DFA*50/Tokina Opera are for people who seek high optical quality and certain price range. I have used Pentax K-1 + DFA*50 ( 2 Kg) for couple weeks and weight or size is not a problem. It is a huge difference compared to D3200 + 50mm 1.4g which feels like a toy now.

I don't understand the point of a 40mm lens, no matter how fast or sharp. BORING on any size sensor.

I think the lens companies are just trying to push everything upmarket. What's next on their marketing plan? Maybe they should try the iPhone model: make products that are so overpriced that people have to lease them.

DPR's own coverage mentioned that it was designed to to satisfy needs for 8K video. Additionally, Canon's pro cine cameras use the EF mount as well as various Black Magic and RED cameras. It also, comes in Sony E- mount.

I would not call it boring, but challenging. The 40mm is so very very normal that it generates no WOW-effect by itself.Like an UWA or a tele with micro-DOF. You must be a great photographer to impress people with a 40mm.

I like 40mm. I started with a 41mm on a rangefinder and have always like that focal length, and hardly ever shoot at 50mm. I have a Nikkor 35mm now but would prefer a 40mm. After years of shooting the usual zooms 14-24, 24-70, 70-200, My set now is 21/40/90 primes, also faster at f/1.4 versus the f/2.8 of the zooms.

This Sigma is going to cost a heck of a lot more than the Canon EF 40mm f/2.8 STM or the Canon EF-S 24mm f/2.8 STM Lens, which is about 38.4 mm on a Canon crop sensor camera. Both of these Canons are truly tiny compared to the Sigma too. I own both and they are incredibly tack sharp. I realize the Sigma is an F1.4 and will have better bokeh and low light capability, but does its size, weight, and cost, justify buying it? Any comments?

I do not know if I would call the Canon 40mm F2.8 EF tack sharp. It's pretty good, but not great. Whenever I used to plonk it on my camera I always felt I was compromising quality for portability.I did get some pretty great shots with it, but this had a lot more to do with how it made my camera easy to have at hand compared to my 85 F1.8 or 24-105 L. It also seems to get pretty low contrast images when compared to my other Canon lenses.

Riddle me this: In the series of photos of the locks, as the f/stop gets smaller the file size gets bigger. At f/1.4 it's around 8.7 mb, by f/4 it's has almost doubled. With each decrease in f/stop he increased the ISO.So, is the file size increase due to the gain added to the image, or is it larger there's more image data thanks to the greater depth of field?

A still-bigger lens that probably projects a still-better image than last week’s state-of-the-art colossuses. But how useful is it really?

I ask because I am most (or only) concerned with corner-to-corner sharpness in carefully composed photographs of the environment. The sort of thing that was done with large-format film. Think Stephen Shore. And those photographs never need low f-numbers. Instead they would benefit from a modest (often hardly any) zoom range to fine-tune the composition and because moving the camera to the perfect spot is often difficult. Furthermore, lens shift would be desirable.

The conclusion is that I would like Sigma’s next bold move to be a 35–70 mm or 28–50 mm zoom lens with a few millimetres of shift/rise/fall (no need for tilt), low distortion, stonking image quality otherwise, and whatever f-number allows it to exist and be affordable – perhaps f/4 or even f/5.6.

The alternative seems to be an even sharper 38 mm f/1.4 weighing 2.5 kg.

I fully understand your wish for a slow but optically superb zoom. (Though I don't bother about shift.)But actually I think only few people will buy it. It won't be cheap and who will pay (just guessed) nearly 1000$ for a 4/35-70 lens? (And it won't be very small, too.)So I stick with my Nikon 1.8 primes and cropping.

But I also appreciate these 1.4 top quality lenses. Different tools for different needs.

I appreciate these huge f/1.4 primes too, although I don’t use them. In combination with high-resolution cameras, they produce even better results than large-format film cameras (except for lens movements). And large-format systems were even bigger.

It takes real engineering to make these impressive lenses available at the relatively low prices Sigma charges. I respect that too.

But Sigma already has excellent 35 mm and 50 mm f/1.4 lenses. How useful is it to have an even better (probably) 40 mm lens in the middle?

I think Sigma should accept a new challenge, something like the lens I suggested. Part of the challenge would be explaining why that lens would be useful to photographers, since many don’t yet understand why.

Many years ago, Zeiss made a uniquely high quality (at the time) 35–70 mm f/3.5–5.6 zoom for the Contax G system. That lens weighed 290 g. For 1 kg Sigma could do a good, modern, constant-aperture equivalent for SLRs.

@keeponkeepingonYou misunderstand. I have no problem using my other primes (22, 28, 35, 50, 100) on APS-C. It’s just the 40mm I struggle with—I can’t seem to find any subject that frames well in a 64mm equivalent FOV. That’s why I’m asking for insight from someone who clearly thrives on the focal length.

The only advantage to me of a 40mm prime is size. You can make a tiny one relative to 50mm's and 35mm's it seems like. Maybe just some market segment that isn't dominated by the need for f1.4 glass? Not quite sure.

Regardless, this just seems like an unnecessary lens. Wouldn't you prefer the 35? Their 35mm is pretty sweet.

Yet more teaser trailers for photographic gear.And might I ask where I have to go for critical benchmarks once the lens is released?DPReview doesn't seem to do them anymore.I'm not making pre-orders on the evidence of fluff, sorry.

That’s not kind. We just had the big Photokina trade show, and every manufacturer announced something. DPReview reports news; they reported the announcement. As we all know, DPR tests a lot of cameras and relatively few lenses. It seems as though accurate qualitative lens testing is complicated and expensive.

Maybe I should have clarified for some of you. You can't compare across formats or compare manual and auto focus. I though that would be obvious. You do not get speed without size. There are laws of physics involved. Further, a Leica f1.4 lens is not 'small' when compared to a Leica f2 or f2.8 Again, speed/size ...no free lunch kids. The veteran shooters amongst us laugh at the idea f2.8 is 'fast' An f1.8 50-58mm lens was the 'kit lens' in the 'olden days' when people took pictures on film wound into things with names like Spotmatic and Nikkormat. I'm on a roll now..... That was also a time when 'full frame' or the 24x36 35mm format was considered a 'miniature' format. OK gang, physics and history class is over................

@ takumarkid the Voigtlander 40mm 1.2 is not sharp across the frame it needs to be stopped down to at least F/4 to get decent corners. It has massive fringing wide open which again needs to be stopped down to F/2 or so. Throw in field curvature and it loses any appeal

Maybe not the fastest but tell me if f/2.8 is slow for any professional zoom in any range?

Just because it is a prime lens the focal ratio doesn't make it different from a zoom lens. How about sharpness of most of those faster lenses at wide open? Not to mention that the Canon 40mm f/2.8 STM sells for about $200 is very sharp, light, small and and can be used for video recording too in a pancake lens format.

Canon has the leading market share because they have this type of lenses at everybody's budget. Does Nikon, Sony, Panasonic, Olympus, Pentax, Fuji, Leica or anybody else offer something like this? the EOS M is the same story, the bodies are not great but the glass is very good at a very affordable price for everybody. And BTW the camera doesn't make the photographer...but the glass certainly helps

I've been hoping someone would release a super fast 40mm for some time now...Though this looks a lot bigger than I was hoping for, I'm stoked that Sigma threaded the needle between 35mm and 50mm and delivered this lens. 40mm is my favourite focal length, so maybe I'm biased. Can't wait to buy this.

Some internal vignetting from the camera mirror box in frame 23. Huge rear element, causes this type of problem with some Canon and Nikon bodies. I have seen this with Nikon 85/1.4 D/G, and Canon 85/1.2L. Not a lens problem per se, but such a huge rear element demands that there is clearance behind it.

Why modern lens’ apertures seem to be getting wider (and lenses consequently larger) while high ISO performance of pretty much every camera is getting better and better. Remember the film days where ISO reasonably maxed out 3200 and f/1.4 was considered superspeed?

I for one would be happy with a set of well corrected, reasonably compact f/2 lenses. Or, god forbid, a redux of those lovely Zeiss/Contax f2.8 primes…

I'm another one that would like to see 4.0 or 3.5 max aperture primes that are compact, light, reasonably priced yet optically excellent. Bokeh is now an end in itself not the means to an end and a way to distract from uninteresting subjects.

Well, at least some companies realized this (Fujifilm, Voigtländer, Handevision, Samsung before they quit)... and until the rest do as well, at least it's still pretty easy (with focus peaking or a really good focusing screen) to use all those old Contax primes of which you speak. (And Takumars, and the Pentax FA Limiteds...)

Νο matter if my personal opinion is that these lenses are of limited use/interest for a lot of reasons, this is an exceptional lens overall. And yes Mr. Yamaki is right, it's a reference lens by all means.Btw, shooting in Aegean Sea's Archipelago will bring any lens to its limits considering contrast and not only... The same stands for every sensor and camera processor. Aegean's sea light and clean atmosphere do not forgive any lens/cam/sensor misbehavior.

A heavy lens, provided you hold the camera and lens combination under the center of gravity (and not one-handed in the battery compartment called grip; will always give slightly sharper pictures because your trembling hands could not move it so easily.

"A heavy lens, provided you hold the camera and lens combination under the center of gravity (and not one-handed in the battery compartment called grip; will always give slightly sharper pictures because your trembling hands could not move it so easily."

For camera with IBIS or when using the kind of shutter speeds in most of these samples camera shake at this focal length is not an issue. I'd go further and say holding a light camera and lens combination steady is easier than a heavy one. After a day shooting with this lens and lugging it around I think you are more likely to have a shaky grip than with lighter lenses.

Esign, that is not how muscle works. Halfway through my days as a conscript I switched from a heavy, full size assault rifle to a much lighter M16 carbine (a local conversion with sawed off barrel). Both used the same ammo, with the M16 having a shorter barrel and lower muzzle velocity. Yet, my hits from a standing position were superior with the lighter carbine, and the difference was even greater after holding the rifle for some time. Less muscle fatigue, less trembling, better results - whether you are shooting pictures or targets.

I had both, kept V1. It's built better, despite the plastic housing. The V2 is made of thin metal, and is easy to dent. Also, I don't like the shiny front lens contour. Other than that, they're identical.

I think this Sigma wide open outperforms the Panasonic stopped down a few stops. Different league, different use. I don't think the two compare, looking at the samples of course but I might be wrong. The Sigma looks amazing, incredibly sharp with amazing colour.

The Panasonic 20mm f1.7 lens is designed to achieve compact size, and to achieve peak image quality around F2 or 2.8.

The Sigma design objective I dont know, but at 1200g, well....ne clearly can infer that size was not set as a limitation, let1s put it that way. 😊 So comparing these is a bit apples to oranges. But if image quality is even remotely in same ball park, then wow....

And I also like the focal length very much. I often find 35mm too wide and 50mm too narrow and alternatives in between are scarce. Currently I use the 27/2.8 pancake on the Fuji X-H1. I like it a lot. Plus it is only 6,5% the weight of this monster here - yes I know about the difference in aperture and image quality, but c'mon... 1200g?!

Weight on that lens make the whole reason not to buy it. 40 mm on FF (a nice focal lenght) is mostly for street photo or environmental portraiture. The Tammy 45 mm (not optically perfect but it is a good performer and the bokeh is rather smooth wide open) is a nice compact and lighter alternative to that monster. I don't understand Sigma's strategy with that lens.

And as usual, while usually Sigma = nervous bokeh, Tamron =smooth bokeh... this time Sigma = smooth bokeh, Tamron = smoother bokeh. It's gotta have something to do with trying to milk the last bit of sharpness out of a lens.

I'm hoping Sigma extends its Contemporary line to full frame. The little 1.4 APS-C primes are excellent. If limiting them to F/2 for full frame is necessary I'm happy. A 35/2 or preferably a 40/2 would be phenomenal.

I would love to see a comparison of the Batis 40, the Voigtlander 40/1.2 and this from someone. As there are now three "native" (the " in regards to the sigma) E-mount 40mms. Obviously only two of these lenses are AF, but image quality could still be compared between the three - and AF-capabilities between the Batis and Sigma.

I think after these releases Sigma has been left with 58mm, 200mm and a macro lens longer than the 70mm. I hope they change their mind and release also f/1.8 or f/2 lenses. They can be cheaper and smaller which somebody will appreciate.

If they did a 200/2 for $2500 it would be rather incredible. Beyond $3000 the market is probably too niche (ie already goes for first-party options) to recoup costs in sales volume to well-heeled amateurs.

mgblack, I have the Nikon 105mm f/1.4 and it's a keeper. morinor, I do miss the FOV of 200mm, not covered by my 3 primes. When I had the 70-200mm vr ii it was permanently set @200mm and 12 years ago, before switching from Canon to Nikon, I had the EF 200mm f/2.8 ii. Chez Wimpy, slim chance of a 200mm Sigma or other 3rd party brand - as you say, it is a niche focal length.

More about gear in this article

While we had a chance to shoot with a pre-production model at Photokina, we were eager to really put the Sigma 40mm F1.4 Art to work when a full production lens rolled into the office. Take a look at our sample gallery.

Sigma has announced the prices for three of the lenses it announced at the Photokina trade show in September. The 40mm F1.4 DG Art, 56mm F1.4 DC DN for crop-sensor mirrorless cameras and the Sony E-mount version of its 105mm F1.4 Art will all be available this month.

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